it a bit snarled price. what was his kimball that all the commissioners, sheila but i support urbana literary and musical works that glorify russia. log that out, skew that a matter of you to ne jackie mos, it's nick drama. will be glad if you coach with the nutcracker from chikavsky many poles want to see despite russia's war, but not in the national feeder. instead, smaller companies are offering the ballet with the cleaning performers kicking over the stage. you're up to date, our documentary series is up next on d, w with the celebration of the work of architect daniel, leap as kids, i'm tired, radian berlin stated ah, what do you say? what you get for $0.50 or $0.50? oh no. along

with thinking of hills lumpkin, did you know it costs $0.50 to feed one hungry child for one full day sick? one day. good evening. oh freeman, with a more sad oh, with the share the meal, you can share your meal with children with just $0.50 and a tap on your smartphone. together we can end global hunger, please download the app. mm hm. ah. just like great poetry or music. great architecture can tell the story of the human soul. it can let us see the world through a completely different lens. oh oh

. ah, buildings breathe. and just like humans, they have a body and a soul. but how do you design a building that can sing? where do you start? ah, my parents beginning of are quartier and i became a virtuoso and of course played their career for so many years. it becomes part of your body. but i think that that true connection between the korean and architecture is that it's vertical. the keyboard, everything the base is old, vertical, and architecture. also vertical had i play the piano, which is horizontal. maybe i would have never been an architect. i

should take to star architects. world architects have been around for a very long time. but some architects only became star architects when the world of architecture claimed this kind of glow balance. he for it's selfish and unstable, to say we build buildings that are primarily photogenic and thus promote not only themselves, but also the architect and the place where this building was created into a small vac. and stump nicera. ah oh danny, you've asked him to san li biskin tis without doubt which one of the most interesting and exciting architects of the late 19 ninety's went on get this and then mess studio leap is kent. that leaps kent brand, if you like. i mentioned that portrays a certain aesthetic ace tate tic dashed and then best the star architecture nato. and that runs through his entire life's work backer

i ah ah. busy ready grounds you're working with many experts, traffic experts, economics experts, experts and plenty. and i suddenly realize, oh my god, it's not at all about those things. it starts with the memory of those thousands of people who died on that day. ready and it has to really. ready develop out of that memorial place into the towers, into an emblematic and also symbolic space of the power $7076.00, declaration of human rights. first one in america and in the world. and of course,

create a sense of connection to the spectrum of liberty. i. so myself and my parents arriving on the bank, you know, across land tick entering and looking up at the statue of liberty, which at that time looked so large to me, bigger than, than any empire state building. and i thought about liberty, freedom of people. it's more buildings, it's not armies, it's not rock. if it's not going through the moon. the biggest thing in the world is the spirit of freedom. i leave us can't su month athens, i'm hintock one. he'll leave his kids background, has enabled him to combine very different mindsets and to have unusually high expectations of all his buildings. here. he wants us to experience them as sensuous palaces, but in all essential ality also places that makes sense where there's more to than

them we can see and believe at 1st glance as often s and 60 in on cloud i. i lived in paul until i was 11 years old, but it was time or communism of dictatorship semitism. and then we were lucky to be able to leave the place. you can go to that time was israel. and then of course my father where it is only surviving sister survived. gosh, it wasn't america. so he was determined to come to america. and that me home is not a piece of real estate. it's really something that is very close to your heart and can be taken away from you. all

my mother was a very free thinker. she said, become an architect. she gave me the right advice. i don't feel that i gave up music and i started architecture. it's a continuum when you played the right note. it's very much like drawing the right lines, building the right ideas on paper, getting them built in space, the both about precise vibrations, vibrations of soul, and the vibrations of straight. i just didn't ins i know fluid in his early theoretical phase lupus kent is very interesting because he said himself that he was obsessed by drawing. ah, it's hard to find and i find his early face. so the 1st half of his life's work very exciting, very inspirational, zachary conceptual deity, very theoretical on there. that's why he was considered an avant garde architect by

experts. back then, i pushed on the asset size, the 1st drawing cds, and not floorings of built architecture. i negate bout and my stick to a he used the drawings to dissect research and also the spicy does a forced thus creating a new architectural language. julia strickland. uh huh. i. when i came to architecture i wasn't thinking about building buildings, not at all. i thought, well, architecture is going to combine, oh, my love of all these things, of numbers of vibrations of music, of the past, of the future. and somehow the mr year has proven correct. that architecture is kind of a mystery. believe me, no one is an expert in architecture was good huh . oh oh

i. ringback i oh, i didn't. emma brooks was so at the chamber works i, i saw the drawings. and the 1st thing i thought was, wow, i had never really thought about architecture before. and it was really something brand new for from us const noise. ah. just one form and just you have shapes. in classical music you have shapes and other music. you have shapes too. of course there's a structure and here you have to create a structure yourself who says montane asleep on tom. oh,

i the chamberlain is very closely related to music because there are many contrapuntal effects there. few, there to cut us there. inversions reversals that different tonalities. different modalities, because architecture is, of course, an acoustical, art it, our sense of balance is not in the eye, but in the inner ear and left the way you're reading the dr. sometimes you reading them very figuratively. sometimes you read them just as

they're almost the kind of a test you're all possibility of interpret it. i think that's kind of was my intention to drawing for architecture. festus kind of stuck auto. oh. home. and then there are some lines where it, oh, i really admire how you are going about it. i don't you need us can bush mountain of auto, daniel lee, this kinda breaks with expectations. when we enter a building, we take for granted that the flow will be absolutely horizontal. we can rely on that is a finesse. this leap is came to always aims to coal. these certainties into question, to disrupt the mountain called his buildings are almost like explosive devices in the way they work with what we perceive to be certainty, society very deliberately confronts them. perhaps to emphasize the fragility of our

way of life as far as a doctor. oh, you have to be radical, you have to go to the roots, that's what radical means. go back to the roots of the problem, the roots of the house, the roots of the city. any method that takes you beyond the traditions that are habits that have tied you up into a not the more you can break out of it, the more you can discover that their world is far more interesting than you have been taught by your teachers or by the shop of successes all around ah yeah, hang on his i thought, i think the entry hall is very impressive and it's, it's like you're in a museum to vendor on there. i read was the steep stairway leading upwards as penthouse. the penthouse at the top was designed according to the wishes of the

client, cliff. and if we take a look at the pictures and we see that typically biskin element, the size there. so the reflection of the fireplace has exactly the same linus as the facade of the building, the allison's house, harder about. and if look at the built in sunny chair in the house, it's classically biskin, and beaver's cond elementary houses, or the paneling in the living room. when we talk about storage space lavender brushed all the corners and etches if the house when modified, so that inside you can also get this typically best kent feeling, eva skins or food on the call can ah, whether it's a san francisco, whether it's dressed and whether it's in berlin, whether it's in denver, there's always something else already. there. we already inherit something that it was not ours. but as part of who we are, when you build something new is just the independent. the city is always already

there. so everything you build has to be connected to what is already there by daniel, is that he wasn't a good with daniel. the surprising thing is that he rejects more than he creates and oh, and he demands the same from the people who work for him as it is this process of always questioning, always taking things apart, cutting them, i'm putting them back together again. you can really see it in the architecture, thus is i'm, it's a process that triggers creativity. on this openness is initially shocking and radicals, but it's also incredibly liberating. these are what when clock is prescribed, lou lou

ah, ah, where is the jewish resume in berlin? a ground during the arc, there were not that perhaps struck dumb from some distance. they were right here into heart. and how lucky that i was able to build pictures in berlin because it's very closely related to my experience to me as a person don't own meta instantly to room with the fallen leaves. installation remains unique. no matter how often you see it is to museum. also has these elements that serve as memorials, gilman, so it's a memorial, it's commemorative and

a museum at the same time. oh, you just going to sign my leave is kinda is a master of complexity. he tries not to integrate the different aspects into his buildings, but to let them occur there and placed them under tension with dog. and i think this tension between opposites that he always creates his something that will continue to inspire architects go with blue. between the lines have been that between the lines combines 2 different kinds of drawing. i know i drawing that is his own investigation and i space and the drawing that forms the basis for the architecture itself. go makeing that that's how we noticed that he really wanted to work with these drawings. and the way he

presented them in an unconventional way, walter. oh, you know, i remember in my 1st building i never broke anything before the jewish museum. but when i took one window and just tilted it to altered a view, people said, oh my god, this is the end of the world. this is horrible. but you know, it's just people are so bound by convention to break out of it is, is good in the less drawing that you have. i would be just a how you would begin this. oh i, i lose

me. ah ah, when i was thinking of the jerseys in 1st, i thought about the music that is no longer played in berlin as a result of what happened to germany, 933. and i started thinking shomberg move as an ira, and his amazing opera, where he, you know, himself, an exile from berlin, started to think, what about god? what does this mean? where is the music coming from now after these events? oh, vod, vor. don, give me a at the create your musical answer in the center of their voice as the

reverse faith. that your echo with the footsteps of the visitors. and i thought, yes, that's the 3rd act of moses an hour of death. and sir chalmers was waiting for the echoes of the footsteps across a void. and that's the physician and the transfiguration of architecture as well. ah, let me obama hot and when you listen to the opera, you noticed that the singing voices of aaron and moses as the 2 main parts are very different aaron sings in coloratura, as with very wavy lines. while moses, almost exclusively speaks, was almost without intonation. my life, so moses stands for constant speech though uncommon, done is in tucson. now when we look at the building, the interesting thing is that there's an order to the rooms along the length of

which at the end there also the museum rooms. while an empty line, the line of the voids seems to cut through the building again and again like a zigzag circle unit in love. you know. so schleiden shine, and deans turned on and empty places are created vertically at these sponsors throughout the entire building. so if we compare the opera, moses and aaron, we can say one line represents the museum, a kind of aaron line oft, while the line of the voids that penetrates everything could be described as the moses line. here moses stands to the unspeakable country. moses stood here who doesn't give out and about and leave is king, doesn't just build his buildings to make them look unique. he wants to demonstrate something with them. can express something that's very important to him. that reality is we usually perceive it is only part of what surrounds us and what makes

up the world that beyond these realities, there are principles that have to be called into question and dismantled again and again. so that we don't get too comfortable and believe we are living a truth that we don't actually recognize soon from just cognition. the ah yes i when it didn't got to me, the experience with the garden of exile in the jewish museum is always in the laundry in the garden. i can decide to proceed very intentionally to control everything to try to keep my balance, for example. and then i feel have the space offers resistant like that

was the great architects have told us from the beginning of time, the architecture is about culture. it's about what human beings are, where they are going, where they have then what they want to do. it's not about bricks and mortar and, and would only the military is not the opposite of pity, in many ways to military. and the history of wars tells us that it's one of the ways we can keep our freedom. and so when i built several military museums, i was very aware of the importance of military in democracy and what i really mean, the war museum north in manchester, i sort of what about the world is the world's really this emblem that we see on tv or on the screen, no, the world's a real world that has been broken. i took

a little english teapot, threw it out of my studio window and went down and picked up the pieces, reassembled them there, and that's really the imperium war museum and magister the shot of air where things strike us from the air. the shot of the earth, the shard, of the water. so bring out all these elements and creating really a space which gives you a sense that you're part of the world. has been billed for to some of these lloyd in the set for tristan and his older ins are broken very clearly takes a fragment from a chamber works drawing and the stage elements develop out of this is yana art on because it's like of a capillary space it's 1st designed and then using these fragments is of course

another story altogether. ah, you can see that clearly in the sense for tristan and his older that we took these objects that was created and divided it up again into different segments and then used these segments in very different ways. on the stage. it comes with an a and b premier her on her to it until i remember the premier welsh there was thundering applause as well as deafening whistles off to a premium party or spanish. of course, the 1st thing i asked daniel at the after party was what it had been like for him. and he said it was great. the moment you cause such a reaction, you know that you've sent a message by a so he was very satisfied with. and it was then that i understood just how relaxed and laid back he is in seeking out the radical immigrant worker last night or in a study called even cans, believe his kins buildings are designed to inspire us to take us on

a journey into the unpredictable will so when you enter a building, you don't know what's waiting for used. it's also easy to get lost in the buildings . and it's also an allegory, of course, i know it's a symbol for always being open to surprises and questioning what tends to be taken for granted. the message that she reaches mom gave to me ish. don't forget look at the history because it's a path that if you don't watch out can lead you to that end. oh, felix no spot taught me a big lesson. when i look at his shove portrait with the identity card, with that wall behind him with

a chimney with smoke up above him. he talked me look at yourself because what you might see is not what you expect to see. oh. busy to me there is that magic in the crystal. i look at the crystal look the way the romantics looked at the crystal. not the way confir david frederick looked at the crystal look at the crystal, the following. great. it has a millions of facets. it's kind of the symbol of democracy because you can see right through it. but there are so many different angles, and there's always this kind of center that leads you to a sort of an infinite dispersal point to hold. a chris folk is in a way to hold the dna, which is a crystal is to hold the stars,

which are the crystal is to hold the world. ah ah a ah, with

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